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I understand there were players from all of the major orchestras,as well as those from movie studios,who were all but fighting to play at these sessions under Walter.

Roger




--- On Thu, 3/31/11, Tom Fine <[log in to unmask]> wrote:

From: Tom Fine <[log in to unmask]>
Subject: Re: [ARSCLIST] Bruno Walter - Columbia Symphony stereo-era recording details
To: [log in to unmask]
Date: Thursday, March 31, 2011, 12:24 PM

How many mics for a typical orchestral recording out in Hollywood? Where would they put them. One thing I notice consistently is that there's too much bow-and-string for the cellos and basses, like there's a mic too close in there. But not a bad balance most of the time and sometimes I can't believe that's a "pick-up band" playing. Why did they have Walter and Szell covering so much same and similar material in such close chronological proximity?

-- Tom Fine

----- Original Message ----- From: "Gray, Mike" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, March 31, 2011 2:09 PM
Subject: Re: [ARSCLIST] Bruno Walter - Columbia Symphony stereo-era recording details


> The photos in the booklets show the 30th Street sessions of the mid 50s - when stereo came, they began using C-12's (at the recommendation of George Szell) and M-49s, but mostly C-12's.
> 
> 
> Mike Gray
>